Okay, so getting back to our sailboat bulging triangle ahead, for a good basic characteristic shape. It's got the curves in the corners. And the structure. If you're going to draw structure you can it doesn't have to be stiff, right? You can bring some light into it by gesture. Right?
You can bend those lines. Right, you can take those corners, you can round them off and make that block of ice become a character, a moving character, right, just by the gesture. A lot of people make a mistake when they place that ear in the middle third, right. And it's sitting there at the halfway point a little bit behind the halfway point. A big mistake that people make is they don't fit it inside a box. So the head is like this and it's too, too thin, right?
Because they don't take account of the cranium. There. Okay, and so the ears basically the only feature on the side of the head, so that's good. So on the front of the head are all the features eyes, nose, mouth, and the side of the head is the ear only. So that's good, because it creates like a corner for us. We line up the eyes with the ear.
The two planes come together to form a corner, an inside edge, right? And so that's going to be able to tell me when I'm looking up at something, or down at something, right? So if I have a box, like this right, that lining up those that corner can help me really quickly establish this thing I can tell you it's direction space is looking down. This is looking up right by just that inside corner and establishing that. So that's what this does for us. So let's take that.
So if I take that folding triangle and let's say I placed the ear here. Well, where are we? Okay, let's take a look at what placing the ear can really do for us on this model, so the ear has a way of really telling us where the head is. In space, we can get a lot out of this, just by way we put the ear. So if you look at the model and the model starts to tilt, where does the ear go, it crowds out the top of the skull, right? And that's how you can tell we're looking up.
If we go the other way, the IRS starts to crowd out the bottom jaw line. If we go this way, the IRS starts to crowd out the front of the face, and so on the opposite way, the ear will start to crowd out the back of the cranium. So where we put that ear is crucial. Okay, let's come back and finish this idea here. So we had the mistake, common mistake is that the head is just too thin. Okay, and doesn't look doesn't look right.
Okay. So we've got the ear here and it's just floating there and I don't want my features to float. I don't want anything to float there and be unconnected. So I want things to connect and touch, right because when they touch, then you can see the relationships and they look more believable. So I'm going to try to touch that. I'm going to touch that ear to the mask of the face, I'm going to bring a line from the forehead over to the ear, down to the jaw, and back up to the front.
That's the mask of the face. Okay, I'm going to place the nose, the two cylinder, and I've got myself a pretty good face right there. Okay, my brow or the mask of the hairline could be just a simple shape like that, but I might break it up into a more characteristic kind of Note there and that kind of helps me to break up that space from let's say the forehead back to that ear or to the front of the ear. It's a pretty big distance so I can break it up into smaller distances and that helps me a lot. So right from the forehead to that part, outer part of the eyebrow to the sideburn to the ear, I can get there. Okay, the back of the neck starts around the eyeline and it can go this way and that way, okay, so it's kind of like a nice hourglass shape.
It's wider at the top than it is on the bottom. And I can bring for let's say a woman it can go this way and have this nice hourglass shape, but a guy would tend to go the other way. So let me draw that real quick. Right? So here's, here's a guy's head and his neck can go this way. Right?
And so that, that kind of looks a little bit more how a guy's neck looks. And there's kind of like that characteristics way. Right? It doesn't just sit. Here's another mistake people make. They put oval on top of a stick, right?
Or even just that kind of triangle shape and then make the neck straight up and down. That looks stiff and pretty unconvincing. You want to put that gesture in there and give that That piece of structure some light by bending the sides bending the lines, and that works much, much better. So I've got my neck coming down here, and then I can basically put in part of the neck muscle right there and touch the ear with that. So now I've got some really good connections happening. Because I've connected the ear to the mask of the face to the jaw, and down to the pit of the neck.
So I'm well connected, and it looks better. So to the back of the head, there's roughly one here, they'll get me back there. Okay. So Keep that in mind if we do this again. Now watch what happens when I placed the ear. Okay?
A little bit this way. Okay, now we're a little more three quarterback because the ear tends to crowd out the front of the face as you turn away can see my ears crowding out the front of my face. And so that's what's happening here. Right so I'm gonna touch it to the mask of the face. Bring that jawline, touch it to the eyebrow. There it is.
Case Oh, that's pretty, you know pretty quick to be able to do that. And then to get to where the back of the head is. Right. I can find one year's distance, and that'll get me right to where that inside corner is. And then I can make that kind of change and establish the box and turn this thing into a more convincing head than the eyeline here is where the head connects and the neck starts. So I can bring the neck muscle down into the shoulder muscle.
And I've got that good, strong connection from that neck muscle from the ear, right down to the pit of the neck. That's the sternal cleto mastoid. And that's there. And how that fits, right. And so that can be a front of the neck like this, it can be even a back like that. See that?
There's the C seven right there. And then on to the thoracic part of the vertebra. And so we've got this. Now situated where we're actually three quarterback, you know, and we're looking at the back of the neck now. Whereas before we were looking at the front. Now that's really cool.
It's really cool. That's powerful. So let's do one more time and Draw that same shape, not changing anything. See how much we can get just out of that simple, well designed, distinctive shape. And I'm going to put the ear out here, I'm going to draw here a little bit thicker here, we get that thicker edge. So if you think of the here as kind of a slice of salami, right, and I just cut this part and I ended up with this kind of shape like that, that's like an ear.
Okay, and so that's what I'm doing. I'm thickening up this top part. On the bottom. If you're looking up, you can thicken up the bottom part of the year. So just gives it that little extra sense to the viewer where they're at. So if I find this inside corner now, I'm The ear is down crowding the jaw, up above, looking down, three quarter front.
Right? So that's amazing, amazing stuff. So you want to think about your shapes, design them. Make them simple. Make them, you know, distinctive of what it is. And then you'll be able to start designing your own staff you'll be able to draw faster if you're doing storyboards, you need to knock out lots of frames per day.
And I did lots of this on storyboards and I use this exact idea to you know, speed up the workflow, because time, you know, is money. So, hey, I hope that this really helped you because it really helped me and I got the from Steve Houston, he's a great teacher and he teaches it so beautifully. And I just wanted to share it with you today. All right, let's do another set. This time it'll be three five minute head drawings and feel free to draw along with me. Or three to one